Tuesday, March 25, 2014

Good evening fellow progheads; you're just in time to join me for my weekly "get up/get out" as I travel abroad in my quest for all things prog. Throughout this entire excursion I have been hopping back and forth from continent to continent, country to country...and this week is no different. While I didn't exactly break new ground this time around, I did manage to locate a relative new comer to the progressive music scene. I am becoming very familiar with the folks in customs at Heathrow Airport as I scurry in and out of England. Got my passport stamped again so I can check out a band that piqued my prog curiosity; welcome to the sounds of Jade Vine.

Jade Vine describes themselves as "alternative prog rock." That is an expression I have heard many times to define many a prog band today. The "a-word" is used almost flippantly; like an old cliche. Although I do pick up hints of Anathema, Garbage, Consider The Thief, and just a touch of Grey Lotus, it is time to discover for myself what puts the "alternative" in Jade Vine's progressive sound...

My first serving from the buffet is a tune called "Nothing I Can Do." A somber opening with acoustic guitar and vocals that have a dark and earthy flavor...not a bad start. The song picks up strength pretty quickly as the drums build a solid foundation for the guitars to rise from. The music moves into a groove reminiscent of early Garbage--except Jade Vine does not seem totally dependent on one player...each musician brings something to the song that would leave a void if omitted. There is an ominous feel to the song that is somehow appealing...nice first impression.

Helping number two from the serving line is called "Nothing Can Hide From Light." This is the title cut from Jade Vine's debut album. Once again a somber, somewhat dark opening. The acoustics lead down a dark stairwell bringing you to the drums that thump you on the side of the head...and then a full smack in the ears as the guitars pick up the tempo while the vocals give chase. Jade Vine seems to be developing a sound that mixes new prog with a soft metal/jazz twist that does seem a bit...alternative...I guess there really is something to that moniker.

Liner Notes...Jade Vine was originally formed as a duet in 2006 under the name "Uncaused Creation" by brothers Constantine and Marios Magdalinos, both of whom played guitar and sang vocals. Looking to grow their sound, band, and opportunities, the brothers Magdalinos added drummer Babis Margaritidis, Anastasiya Malakhova on keyboards, and ultimately relinquished bass guitar duties to Tom Nettleship. The name change to Jade Vine occurred in 2012 as things started to kick into high gear. Collaboration with Anathema's own Daniel Cavanagh, who is credited as "co-producer and general supervisor," has helped Jade Vine move to that proverbial "next level."

Sauntering back to the "alternative buffet," serving number three is a tune called "Last Days of Apathy." Jade Vine throws everything into this song; the the tempo picks up right away and the metal guitar comes at you rapid-fire in short bursts that are the driving force from which the song is constructed. The keyboards and drums join the fracas and erect a strong tower to carry the vocals across the entire piece. This is a sturdy, jagged-edged composition that will continue in your head long after the laser has moved across the CD...

The clip featured below is "Lose Control." A beefy percussion/guitar intro takes this song to different territory...a nice paradigm shift that throws Jade Vine right at the listener...who should be only too happy to carry the load. There is a deepness to Jade Vine that is not necessarily dark; perhaps solemn with a splash of in-your-face bravado that separates them from the pack while aligning them with the next generation of prog at the same time. Jade Vine defines themselves as a rock band with an alternative/prog rock twist...I gotta admit; seven days spent listening to their music has shed bright lights on a great new sound. Learn more about Jade Vine at http://www.jadevineuk.com/

OK progheads, time once again to start counting backwards from seven...until we cross paths again next week with another new prog band fervently awaiting their gig in the concert closet. Because I am only too happy to oblige both band and reader, I will continue this expedition. I know there are countless prog bands out there, I just need to keep my ears open...until next week...

Tuesday, March 18, 2014

Hello once again fellow progheads; glad you made it back to the concert closet. This week I spent way too much time over thinking our destination and almost missed out on some real prog fun. As is usually the case in the world of all things prog, I tend to get too serious about things that aren't really serious. So in a state of Zen I pulled a bootlegger's turn and spun 80 degrees...determined to discover a band with a passion for the crazy side of prog...music with a twist...more Frank Zappa than Frank Sinatra if you catch my drift. Sailing for ports unknown I docked at a harbor in Spain where the house band is known as Architecture of the Absurd...

Just the name--Architecture of the Absurd--evokes images of the aforementioned Mr. Zappa, Van Der Graaf Generator, Tom Waits, Focus, and Captain Beefheart. Believe me; Architecture of the Absurd is all that and more. Before I get knee-deep in my review this week I want to clarify that progressive music is more than just "tracks on wax" to me--it truly is a passion--one I enjoy quite zealously. However; I also realize there are times when progheads such as myself get so caught up in the details of the genre that the stylus never gets to touch vinyl..the music is lost in a diatribe about nothing. Before I end up over-stuffed with my own hype and become one of the people I make fun of, I thought it best to just kick back and enjoy seven days of prog pleasure for its own sake...so here we go...

My first sampling from this week's buffet is a song called "Beluga." I am immediately struck by the vocals--there is an eerie similarity to "Weird" Al Yankovic. Not sure if that is intentional, coincidence, or just cruel a twist of fate. Musically Architecture of the Absurd is dialed in; apparently they have the talent to counter their absurdity. The keyboards and guitars work well together, rolling on like so many layers of an orchestra. Did I mention the drums? None other than Marco Minnemann sits behind the kit giving Architecture of the Absurd a solid sound and a little "street cred."

Moving on down the serving line, the next nugget I find is a tune called "Paris Ragtime." The song opens with some funk; I am half expecting an Ebn Ozn concert to break out...Architecture of the Absurd is chameleon-like in their ability to not only change themselves, but also to sing about themselves. Listen closely to the lyrics as they describe their own behavior and antics...quite clever. The percussion here sounds like a flashback of sorts to Jamie Muir's King Crimson days; Architecture of the Absurd does run the gambit when looking for inspiration. Once again Marco Minnemann fills out the song with some outstanding percussion.

Liner Notes...Architecture of the Absurd is Lorenzo Matellan on keyboards and sounds, and Raul Huelvesis--Razl to his friends--on guitars and vocals. Originating under then name Beluga, for reasons not exactly clear the band re-invented itself as Architecture of the Absurd and added not only The Aristocrats' Marco Minnemann on drums, but also bass player extraordinaire Damian Erskine. In addition to experience and talent, Marco and Damian bring musical know-how and a veracity to the band that make them more than just a novelty act. But make no mistake--Lorenzo and Razl can hold their own. Architecture of the Absurd is not your grandpa's progressive rock band...

My third and final selection of the week is a song very apropros to this week's post; "Trying to Be a Court Clown." Very strong guitar work held together with a drum beat that keeps you focused on the music. The background sounds suit the purpose of the carnival-like atmosphere that seems to surround the band. Architecture of the Absurd may not be everyone's choice for a Grammy nomination, but if you are open to new things and able to get past the theatrics and shenanigans, Architecture of the Absurd is a pretty darn good band. Learn more about this crazy quartet at their website http://www.architectureoftheabsurd.com/en/
The cut below is "Paris Ragtime." I chose this clip to give you a bird's eye view of the zany world of Architecture of the Absurd. I like the way the song slides from a techno feel right into a progressive groove...hints of Van Der Graaf Generator and perhaps even a bit of Klaatu oozing through the woofers and tweeters here. Listen with an open mind and remember that it really is OK to put serious on the back burner once in a while...

Well fellow progheads, that was a different week, huh? This prog journey has brought me to many different places around the world. To say it has been a learning experience would be an enormous understatement. But more than that it has been a thrilling ride; learning what prog means to different people in different places has opened my eyes and ears to some incredible artists, music, musicians, and sounds. A little stroll down a section of the closet that has been unexplored until now was different and fun. Of course the journey from here only gets more interesting...until next week...

Tuesday, March 11, 2014

Buona Sera fellow progheads! Brushing up a bit on my Italian as I undertake a trip yet again across the Atlantic in my quest for all things prog. A chance encounter with an old friend and prog music aficionado led me to a band that has an exceptional and extremely energetic sound. Although I must confess my
"Eye-talian" language skills are a bit weak--heck, my English has never been exactly "Rhodes Scholar" worthy--I ventured deep once again into the recesses of the concert closet until I reached the "City of Love" where Romeo and Juliet met their demise; Verona. Please to enjoy the sounds of Il Rumore Bianco...The White Noise.

Il Rumore Bianco is a progressive rock band based in Verona, Italy. That was all the information I had at the beginning of the week when I cashed in a few frequent flyer miles and took the concert closet on the road. Digging below the surface I discovered the members of Il Rumore Bianco were schooled in the classic prog of the 1970's and built on that knowledge and appreciation. Folding jazz, electronic, ambient, and experimental music into the formula has given Il Rumore Bianco an individual sound a bit challenging to pin down. I do pick up hints of King Crimson, Uriah Heep, Spock's Beard, Brian Eno, and even a touch of Herbie Hancock to add spice to a mix that is all at once interesting and curious. I love this kind of learning; class is now in session...

My first sampling from the buffet this week is "Il Vestito Buono." Before I trek too deep here I must acknowledge for the sake of full disclosure that while I do not speak fluent Italian I do recognize the title as "The Good Dress" in English. Outstanding music makes a translation barrier moot; I am aware of good guitar, keyboards, and drums when I hear them--and even sans interpreter the vocals cut right through this song. The music has a jazz club vibe as the song opens...a little "King Crimson meets Chick Corea" pulse beats through its core. This song emits strong emotions...I imagine that good dress has garnered someone's attention...

The next cut on the carving table is "Tutto Un Sogno (All A Dream) Part II." The jazz/prog connection Il Rumore Bianco has cultivated leaps out of the music and holds you in a tight embrace. Everything works together to make this song a distinct piece; there is an abruptness that belies how smooth the song really is. The vocals are strong and bold while possessing a silk-like plushness. If Boz Scaggs were form Verona and about 35 years younger I would swear I just discovered him...The tempo picks up as the song progresses, ebbing and flowing with a passion that lures you in until you hit a brick wall of silence when the music stops as unexpectedly as a blizzard in July.

Liner Notes...Il Rumore Bianco started in 2012 with Thomas Pessina on keyboards and vocals, Michele Zanotti on guitar and saxophone, and Alexander Danzi on bass. Looking to build a more complex sound and take Il Rumore Bianco into the deeper recesses of prog, they added Federico Lonardi on guitar, Eddy Fiorio on vocals, and Umberto Sartori on drums. In a relatively short time Il Rumore Bianco has developed a strong style and explicit sound. They are able to tip their hat to the bands that inspired them while carving out a niche all their own.

Musical serving number three from the band's first release is called "Il Primo Attore (The Leading Man)." Once again Il Rumore Bianco jumps right at you from the opening note. Flashes of horn smack you on the forehead, followed by the drums and guitar. Vocals come at you from all sides, piercing your ears without piercing your skull--if you know what I mean. The tempo and time changes are impressive as the band moves through a series of moods reflective of the many sides of romance. I may not speak Italian fluently, but I do comprehend the dapper musings of a romantic in a $2500 silk suit. Il Rumore Bianco has cleared new acreage on the progressive plantation. Their sound is distinct and buoyant; they are not afraid to wade into the deep end of the pool... but they do manage to keep one hand on the safety rail. Prog is woven throughout Il Rumore Bianco's tapestry and the resulting artwork is striking in its individuality.

The cut below is the previously reviewed "Il Vestito Buono." Sharing new things is always the right way to go and I believe you will agree when you listen in. Il Rumore Bianco is quirky, fun, innovative, and a good shot in the arm for the next progressive music generation. I have heard it said many times that survival is dependent upon one's ability to anticipate, adapt, and grow with the ever-changing landscape that is the human spirit. Il Rumore Bianco is neither an "old-style" prog band nor a one-hit-wonder...I suspect they have a few more tricks up their sleeve as they grow into their prog style. Learn more about Il Rumore Bianco at http://www.ilrumorebianco.com/
Don't worry too much about getting lost in translation; music is a universal language...

Well fellow progheads, we have traveled many miles already in 2014 and the snow isn't even close to melting here! Continent hopping is quickly becoming a common theme in the concert closet...luckily there are still many doors left to open. Not sure where I will land next time but I am positive it will be worth the time spent traveling to get there...until next week...

Tuesday, March 4, 2014

Welcome back to the concert closet fellow progheads! Last week I mentioned a need (or perhaps desire) to rack up some frequent flyer miles in my quest for all things prog...so travel onward I did with much anticipation and resolve. This week my focus was to find a great band assembled from classic parts...musicians taken from or involved with other groups that excelled in their own right but felt the need to branch out, nurture an alter-ego, express personal preferences in a side project, or just plain have some fun.

Many bands fit this description--especially if one does his/her homework. In keeping with my (very loosely written) mission I want to stay relatively current. This rules out many a "classic super group" or latest incarnation of a prog standard-bearer. Surely I can find a band that makes me want to sit on the back of the sofa, dim the lights, and plow one-by-one through a stack of vinyl LP's...and ever so rapidly my attention turns to home and all the bands that have started right here in the USA. The result of this thought process is I have to wait at least one more week to add to my frequent flyer miles account; for the past seven days I decided to stay grounded and enjoy the sounds of Transatlantic.

Transatlantic has all the makings of a prog super group--they definitely possess the credentials. The collective resumes of the band members reads like a who's who of progressive music; former and/or current members of Dream Theater, Spock's Beard, Marillion, The Flower Kings, and Liquid Tension Experiment just for starters. Needless to say Transatlantic has circled the block once or twice. This is a band that is arguably greater than the sum of its parts. While there are influences of their previous bands throughout, Transatlantic has successfully created a unique sound unto itself. I pick up strong hints of jazz, rock, metal, and avant-garde in this artists' brew...

My first sampling from the prog buffet this week is called "All Of The Above," a cut from their debut release "Stolt Morse Portnoy Trewavas." This is thirty minutes of absolute prog bliss. The song opens with incredible keyboard and guitar work quickly filled out by the drums. The organ work is amazing all on its own; Transatlantic hit the ground running with this song. When I close my eyes it is as though I am at a concert and this is the opening number--perfect to get the crowd fired up. Tempo changes, mood swings, focus brought to every member of the band...an absolutely superb piece of music. The vocals are tight and and very crisp. Images of both a 20,000 seat concert arena and a smoke filled nightclub fill my mind as I take that seat on the sofa back and dim the lights. Gonna be a fun week...

Serving number two is called "Duel With The Devil." A darker opening than my first selection and a perfect match to the song title. True to form this song takes up twenty-six minutes plus of CD space...but worth every second. Broken into five parts--a la Liquid Tension Experiment--Duel With The Devil paints five vibrant pictures. Portnoy's drums hold everything together throughout, but do not take Stolt's guitar work lightly. There is an energy running through the song that emits from each musician and feeds off alternate doses of strong guitar, great keyboards, absurd drums, and an unexpected sax that lifts the song to a level of brilliance. Neal's vocals are the connective tissue tying the entire piece together. Once again I am reminded why progressive music holds a special place in the concert closet.

Liner Notes...Transatlantic is Neal Morse on lead vocals, keyboards, and guitar; Roine Stolt on guitar and lead vocals; Pete Trewavas on bass, lead and backing vocals; and Mike Portnoy on drums, lead and backing vocals. Transatlantic was thrust on the prog world in 2000, but in a surprise move Neal left both Transatlantic and Spock's Beard in 2002 to pursue other interests. Neal's unexpected departure led to Transatlantic taking a hiatus of sorts...but fortunately for us "common folk" Portnoy et al stayed in close contact and played together in different formations. Transatlantic ultimately reunited in 2009, and have released two more studio albums thus far. The band is currently on the European leg of their tour so perhaps I can rack up some frequent flyer miles after all....

My third plateful from the prog buffet this week is "The Whirlwind" and quite the serving it is. The song/title cut is the only piece on the the album--a la Jethro Tull's "Thick As A Brick"--broken into twelve parts. The opening is an homage to classic prog bands who have set the standard...I pick up strong hints of Pink Floyd, ELP, Yes, Gentle Giant, Be Bop Deluxe, and Genesis just to name a few. Step into the "Progressive Ultimate Fantasy Time Machine" and imagine a band with the talent of Transatlantic producing an album that lays bare everything that influenced their collective career choices..."The Whirlwind" is that record. The keyboards, drums, guitars, horns, and vocals all work together in such harmony, flowing seamlessly through seventy-seven plus minutes of progressive rock utopia. Crank it up or keep the dial at the midpoint; either way this song fills not only the room but the entire freakin' house.

The clip below is "Shine." From the opening acoustic guitar flowing around Neal's vocals you can feel raw emotion as heavy as the heartache of losing a child and light as the mood on the last day of high school. All at once Transatlantic thrusts you into the seat of an amusement park roller coaster, simultaneously speeding downhill, through dark tunnels, and coasting 500 feet in the sunshine just fast enough to keep the hair out of your eyes and your hands gripping the safety bar. The ability to be uplifting while running an emotional obstacle course is a tribute to great songwriting and intense performance skills. Learn more about Transatlantic at http://www.transatlanticweb.com/

A little change of pace this week fellow progheads...I hope you enjoyed this stretch of the journey. Many a struggling progressive band awaits my listening pleasure, and I am quite anxious to continue the search. Nevertheless I felt the need to take a step back this week and rediscover what is happening at the adult table. One of the most enjoyable outcomes this week--along with listening to tremendous prog music for seven days--is realizing just how astounding it is that Transatlantic is able to take the personal styles of four extremely talented, diverse, and well known musicians and combine them into a sound as energized, distinct, and divergent as their body of work is. Progressive music is as strong as it has ever been and thriving on every continent. Time to pack a bag again...until next week...